While not on the lowest rung of the art hierarchy, illustrators and cartoonists of the 19th century started signing their wares as much for their personal satisfaction as for the recognition it afforded them in an increasingly competitive marketplace. And not only did the illustrator’s signature appear, so did the engraver’s and printmaker’s — akin to the lengthy acknowledgments found in contemporary graphic design annuals. By the mid-19th century credit on a printed work was even given to the printing firm. Yet amid this flurry of credit only certain artists were actually allowed to sign what was rightfully theirs. The leading illustrators and cartoonists made their marks, but many lesser ones were prohibited from doing so owing to rules established by the client. Moreover, while the printing companies affixed their imprimaturs, usually the individuals who set the type, made the layouts, and probably even “designed” the page on which artwork was a component, did not.